Emotion and Voice

In this article, I attend to two forms of hearings (or nonhearings) in two distinctive courtsof law, both involving the persecution of Iranian dissidents in the 1980s. Drawing on myethnographic and archival research, inside and outside of Iran, I ponder the conditionsof possibility of confessions/testimonies and their affects and after-lives. The first caseinvolves the Islamic Republic’s televised trials of a group of leftist prisoners. The secondone is a symbolic court in The Hague, known as the Iran Tribunal, organized by somedissidents in diaspora, where witnesses testified against the Iranian regime. I meditate onthe relationship between these two different spaces of the “law” in their differing milieus,and the divergent modes of speaking and hearing they render possible or impossible. Icontemplate the kinds of ethical subjectivities they produce or shatter and reflect on theconditions and modes of speaking and hearing in relation to these topographies of coerciveand sympathetic courts.[Iran, revolution, people’s tribunals, witnessing, testimony]

This project explores perceptual differences between the separate genders of choristers within the cathedral system of the Church of England and to ground such perceptual differences in their historical, social, political and religious perspectives and backgrounds. It also looks at this through the lens of feminist theory and philosophy and is aligned with factual research in the tangible anatomical, physiological and acoustic variants in male and female cathedral chorister voices. It discovers that perceptions of the differences, similarities and
preference of separate voice genders are influenced by history, society and religion, despite acoustic evidence to the contrary.

The aim of this study was to examine the effects of the different human tone colours on individuals’ moods. The research design was determined as quasi- experimental design with test control group. In accordance with this purpose, the workgroup totally consisted of 240 prep students receiving education in preparatory class in 2017-18 academic year at a university in Zonguldak. One hand, the moods of the students related to the tone colours (soprano-alto-tenor-bas) that they listened was assessed with the ‘Mood Scale’ developed by Coskun & Gültepe (2014), on the other hand the physiological variations related to the tone colours that they listened was assessed with ‘Physiological Scale (pulsimeter). The piano as a musical instrument play along with the tone colours utilized in the research. Hence, in order to determine whether the piano has any effect on moods or not, firstly a pilot study was conducted on 155 students who listened human voices both with the piano and without the piano. As a result of the pilot study, the students listened human voice along with a piano. In consequence of abnormal distribution, Mann-Whitney U test was used in the paired comparison of the tone colours, and Kruskal Wallis H test was used in overall comparison. Furthermore, in the physiological results of measurement conducted together with the main study comparison were performed with the Pearson product-moment correlation coefficient, then inter variance correlations were obtained with t test for paired samples and thereby t test results. While the data obtained from students were analysed with SPSS-25 statistical package, the wave graphics coupled with tone colours, amplitude analysis and spectrogram analysis were obtained with Matlab package.

At the end of the research, it was acknowledged that there was a significant difference among the moods of the students related to human tone colours. On the other Araştırma sonucunda, öğrencilerin insan ses renklerine ilişkin duygudurumları üzerinde anlamlı farklılık olduğu sonucuna ulaşılmıştır. Ancak araştırmaya ait fizyolojik ölçüm aşamasında ise anlamlı bir farklılık olmadığı belirlenmiştir.

Araştırmada, eğitim durumlarına ilişkin öneriler ile gelecekte yapılacak araştırmalara ilişkin önerilere de yer verilmiştir.

L'intrusion du silence dans la matière théâtrale où tout est sensé passer par les mots dits sur scène à voix haute constitue d'emblée un élément paradoxal.
Le silence sur scène manifeste le plus souvent une réticence puisqu'il s'agit pour un personnage de retenir sa parole, quelle qu'en soit la raison. Lorsqu’il est volontaire, ce silence peut participer de la rhétorique du blâme. Mais d'autres silences de retenue ne relèvent pas de la rhétorique et semblent plutôt promouvoir le pathos sur le logos, en particulier lorsqu’il s’agit de silences contraints, imposés au corps de l'extérieur, par exemple au moyen d’un bâillon comme pour Iphigénie dans l’Agamemnon d’Eschyle. De tels silences sont décrits et commentés à haute voix par d’autres personnages au cœur de la performance scénique orale. L’absence de parole peut donc être rendue dans la langue tragique qui matérialise paradoxalement le silence sous la forme visuelle de tableaux sonores : le son manifeste, en effet, la présence d'un corps dont il fait connaître la qualité ou l'état, rendus sensibles aussi bien par divers procédés sonores que par des images de pétrification (Niobé) ou de tableaux peints (Iphigénie). Or la corrélation de ces silences sonores avec la souffrance et l'animalité est particulièrement bien illustrée dans le Philoctète de Sophocle où le silence est à proprement parler incarné face à la parole dialogique articulée et bien audible : c'est par le silence sonore de ses cris de souffrance animale que Philoctète parvient à toucher Néoptolème et à lui faire partager son expérience au-delà des mots.
Sur la scène tragique, le silence du pathos, a priori invisible pour les spectateurs, est donc non seulement décrit, mais mis en mots, poïètisé, rendu visible dans la trame sonore du langage tout en matérialisant l'absence de paroles rationnelles. Ce silence poïétique, interactif, qui résonne sur scène, révèle sa capacité à communiquer le pathos non seulement aux personnages intra-scéniques, mais au-delà, à tout l’auditoire rassemblé au théâtre.

Introduction: The Speech, Language and Hearing Science favors the performance of voice professionals, including actors. The movie actor has different demands of the stage actor, due to the influence of film language. There is a new field of activity for the speech therapist, whose work has developed in recent years. The aim of this study is to investigate the work with voice and speech in cinema, from the standpoint of professional environment, with emphasis on the speech session. Method: We conducted semi-open with three actors, four speech therapists and a director. The interviews weretranscribed and divided into the following categories: building character in the film, film interpretation,
the relationship with the director; fragmentation of interpretation; utterance in the film; specific vocal techniques, speech therapy, speech therapy and demand. Results: The work with oral expressiveness in cinema involves improving fitness and vocals, the intentions of the director and the actor. The demands are specific and involve actor, character, cast and direction. The audiologist is flexible to adapt to the needs of their knowledge and context is needed in the health care of the voice, the construction of the oral expression of the character - in the development and adaptation; continuity in vocal character; issues corner; at work issues of linguistic and para-linguistic, involving voice and speech, and communication mediated by the body in harmony with the voice. Conclusion: The role of speech therapy is still unknown, in their entirety by the professionals of the cinema, has brought many important solutions for domestic films, is in development.

Although the Ancients placed great emphasis on delivery, modern rhetorical scholars often overlook the oral dimensions of speech. Speech is powerful because of its ability to elicit a somatic response. Scholars in other disciplines are examining how speech affects the body, but contemporary rhetorical scholarship often overlooks their findings. This essay reviews scholarship both inside and outside of communication studies that demonstrates the interplay between rhetoric and orality, paying particular attention to how scientific scholarship can inform our conception of ethos and pathos. By drawing together scientific and rhetorical scholarship, scholars in all disciplines can gain a greater understanding of how speech affects the mind, body, and soul.

With One Voice: Disambiguating Sung and Spoken Voices Through a Composer’s Experience.

Mary Midgley has pointed out how our drive towards specialisation has led us to value the differences between things over their connections. The voice is largely dislodged from educational development and has been divided by isolationist practices in and within music and speech. Technology has allowed microscopic details of the voice to become public property whilst the athletic, full-voiced singer moves ever closer to Lucie Manén’s  “…one timbre, according to their own psychological make-up.” I will discuss my experience of these issues in my work with singers of all styles, actors and the synthetic voice. . In relation to the title of this paper, I propose the disambiguation of spoken and sung words requires re-synthesis.

This paper aims to describe how phonation changes during emotion-inducing stimuli. 34 Hungarian speakers (17 female, 17 male) were asked to compete in a simple computerised guessing game, using voice commands to proceed after faced with the result of their guess. We expected that acoustic measures taken on these voice commands differ based on two affective components: goal conduciveness (suc-cessful or unsuccessful result) and discrepancy from expectations (unexpected or expected result based on the uncertainty of the guess). According to the results, only female subjects show phonatory variation as a result of varying emotional states: their fundamental frequency is higher at unexpected game events and their phonation is less breathy (lower H1-H2) at unexpected, unsuccessful events. Both of these changes can be caused by higher muscle tension in unexpected, unsuccessful situations and lower tension when experiencing goal conducive, expected events.